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Most content at rampancy.net is tagged with an association with one or more games; usually a game by Bungie Studios (formerly Bungie Software Inc.) or by another developer with connections to Bungie (Wideload, A Certain Affinity, Wingnut).

Here you can choose one game and browse site content related to that game.

String arrangement for Halo 5: Advent
Zip file includes:
-PDFs of full score and individual parts (Violin I, Violin II, Viola, Cello, Bass)
-Notion 4 file
-Mp3 created with Notion 4
*If you use my arrangement in a live performance, please send me a link to the video/recording if there is one.

These radio buttons control which audio track is recorded.
In the Output tab with Advanced output mode on, type Standard, you get checkboxes that allow recording of separate audio tracks within a single container.
With Advanced output mode on and Custom type output selected, you get radio boxes where you choose which audio track you want recorded.
It's really just a question of whether you want unmuxed or muxed multi track audio.
If you're getting audio in the stream but NOT in the recording, try changing which audio track(s) are selected in the Output/Recording tab and see if it helps.

String arrangement for Halo 5: Blue Team
Zip file includes:
-PDFs of full score and individual parts (Violin I, Violin II, Viola, Cello, Bass)
-Notion 4 file
-Mp3 created with Notion 4
*If you use my arrangement in a live performance, please send me a link to the video/recording if there is one.

String arrangement for Halo 5: Light is Green
Zip file includes:
-PDFs of full score and individual parts (Violin I, Violin II, Viola, Cello, Bass)
-Notion 4 file
-Mp3 created with Notion 4
*If you use my arrangement in a live performance, please send me a link to the video/recording if there is one.

String arrangement for Halo 5: The Trials
Zip file includes:
-PDFs of full score and individual parts (Violin I, Violin II, Viola, Cello, Bass)
-Notion 4 file
-Mp3 created with Notion 4
*If you use my arrangement in a live performance, please send me a link to the video/recording if there is one.

Over at VentureBeat, Dean Takahashi has written what is probably the best article to date on the resolution of the dispute between former Bungie composer and Audio Director Marty O'Donnell and the developer that fired him last year before the release of their latest game, Destiny. It goes into the background of how the dispute arose and resulted in O'Donnell being fired from his position as Audio Director, and how Bungie also took action to attempt to strip O'Donnell of his then-unvested shares in the developer, even going so far as to reissue shares at a secret board meeting.

What the article mostly leaves out, though, are the grounds on which the arbitrator made the award-- those details are available in the full award document, available at Scribd.

There is a tendency to view the result as a complete victory and vindication for O'Donnell, and there is no doubt that the sequence of events reflects poorly on Bungie management, especially studio president Harold Ryan. However, it is worth looking at the award itself to see what O'Donnell asked for, what he actually got, and why.

What has also gone largely uncommented-upon since O'Donnell's firing is that it presumably also means the end of the creative partnership between O'Donnell and Michael Salvatori, who remains at Bungie and is working on Destiny, while O'Donnell is moving on to found his own game company, Highwire Games, with other ex-Bungie employees. That partnership spanned multiple decades and predated both composers involvement with Bungie, with began with Myth in the mid-90s.

O'Donnell submitted several claims to arbitration, and Bungie submitted its own counter-claims. Most of these either failed, or succeeded without significant consequence.

We've had Destiny awhile now, and I've been playing it as much as I can. I've finished the story, and I'm enjoying leveling up my three Guardians quite a bit. I'm having fun and I feel I've gotten my money's worth, but there are still a lot of things about the game that I think are worth notice-- things that may challenge the expectations of gamers coming from shooters, those coming from MMOs and RPGs, and those coming to the game straight from Halo.

Fans of previous Bungie franchises like Halo and Myth were surprised earlier this year by the termination of the employment of composer Martin O'Donnell as the studio's Audio Department director, and the subsequent lawsuit he brought against the studio's president, Harold Ryan, for unpaid vacation and penalties. That lawsuit was recently settled.

What remained unresolved was the musical future of Bungie's newest franchise, Destiny, the soundtrack for which was the product of O'Donnell and longtime collaborator Michael Salvatori. The two worked together at Bungie on the soundtrack for five Halo games, and before joining Bungie also did the soundtrack for Bungie's RTS series, Myth, as Total Audio.

Dumping on Story
I've seen this for Destiny as well as Halo before it... accusations of being silly, derivative, and obscure, and I don't really understand it. Some of it seems to come from those who either don't want any story in their shooters and so don't pay attention to it, or those who are used to the kind of depth you get in an RPG and are put off by things drawn with a broad brush. The Halo series supplemented its backstory with the novelizations, whereas Marathon and Myth used the in-game terminals and journal entries, respectively. I have high hopes that the Grimoire cards you get in-game and then view on Bungie.net will be the best of both worlds here, allowing those who want to explore the world in-depth a chance to do so without overburdening the game with backstory during gameplay or through traditional cutscenes.

This Let's Play goes through the levels of Bungie's RTS game, Myth, as rebuilt to be played in the Myth II engine by the community in the Fallen Levels project. Sevron started way back in December 2012, and now it's hit the LP Archive.

...at least that's what Bungie's lead investment designer on Destiny, Tyson "Ferrex" Green, is counting on. Watch this GameInformer interview to see him talk about what Bungie has learned from other games and where they are striking out on their own.

For years now I've speculated that Bungie became independent from Microsoft in 2007 because the studio wanted to make games that weren't Halo but Microsoft wanted no part of that. This conclusion seemed (to me, anyway) to be strongly supported by the spinoff deal that set Bungie free in exchange (at least in part) for Microsoft keeping the Halo franchise. Any lingering doubts I'd suggest were expunged by Jason Jones in his last interview with Game Informer:

GI: Before Destiny, your team had been working on Halo for a long time. What prompted the move?